During this period, with the continuous arrival of cold air, from north to south, winter has entered, fog has become a common weather phenomenon, which also provides many photo enthusiasts with creative opportunities, but also brings many troubles to shooting. The mist is all-pervasive, and the mist is all-pervasive. Simple hidden in the rich, but also can turn ordinary into extraordinary beauty. So fog is an important subject in landscape photography. Photographing in the hazy fog can create a fantastic and even weird atmosphere and increase the dramatic feeling of the photos. Fog is composed of many tiny droplets of water, which can reflect a lot of scattered light. The farther the distance, the more scattered light, the brighter it looks, and the less visible it is in the distance. Therefore, the scenery covered by mist can clearly distinguish the prospects, mid-prospects and prospects, and enhance the depth of space. And fog can also give people a kind of dreamlike feeling, can cover up many chaotic parts of the environment, so that the theme is more prominent, the picture is more expressive. Combining with shooting practice, some materials were arranged for friends to discuss and exchange.
1. Reasonable Exposure Control
In the fog, the whole world is white. The automatic photometric system of the camera is easily disturbed by the environment. When shooting fog scenes, exposure accuracy is a crucial issue. The fog scenes are mainly composed of light gray and white tones, with less content in deep tones. Therefore, the exposure of fog scenes should be moderately increased or decreased according to the specific conditions of shooting. Usually 0.5-1EV value is more appropriate, and sometimes it is often in accordance with normal photometry. There will be insufficient exposure. If you need to process the picture into a high-profile effect, you can increase 1-2EV exposure compensation, but be careful not to overexpose the highlight part. This technique is suitable for expressing the elegant and gentle mood. If you reduce the exposure compensation, it is appropriate to express the thick and deep effect, set according to need. However, exposure compensation should also be handled flexibly, mainly depending on the proportion of fog in the picture. The larger the proportion of fog, the more attention should be paid to adjusting the positive exposure compensation. If the fog occupies a small area or is not in the light measuring area, it is not necessary to increase the exposure. In the process of shooting, we often pay attention to checking the histogram of the photograph and checking the curve overflow, which is also convenient for later adjustment. In exposure settings, you can try to capture the movement of fog with a long shutter. Sometimes the fog flows faster. It can deliberately prolong the exposure time by reducing the aperture or adding gray mirrors, which makes the fog full of fluidity. It is also a good artistic way, and can often get amazing results.
2. Seize the opportune moment of light
Fog can cover up all the colours, shades and shapes, and photographs can easily be gray. When shooting, we need to look for light that can penetrate the fog and add drama to the picture. Sunshine in the morning and street lights in the evening are excellent subjects for shooting. Nightscape shooting in fog can also have a good effect, especially when the sky begins to darken and the sky has not completely darkened. The best time to shoot fog is usually 1-2 hours after sunrise, because the sun is stronger and the fog is weakened. The vision in the fog is dim and blurred. The close-range and middle-range are clearer, and the outline is clearer, which can get a good perspective effect. Fog days are generally scattered light, but the direction of sunlight can generally be distinguished. If we use smooth light to shoot, the scenery will sometimes become flat. So we usually use backlight or side backlight to shoot, which can increase the perspective effect of the picture and the stereoscopic sense of the scenery. If there is smoke or other smoke, the effect will be better. Sometimes when the fog is appropriate, the sun's rays through trees or distant mountains often form a strong beam effect, which is a good opportunity for shooting.
3. Understanding the significance of blank space in fog photography
Photography needs to be subtracted reasonably on many occasions, and the application of white space technology is one of the concrete manifestations of subtraction, which is particularly obvious in fog photography. Blank space, that is, some blank parts of a photographic picture besides the visible object, is composed of a single tone background, forming a gap between the objects. The background of single tone can be fog, sky, water, grassland, land or other scenery. Because of the use of various photographic means, they have lost their original physical objects, and formed a single tone to foil other physical objects on the screen. Although blank space is not the object of the entity, it is also an indispensable part of the screen. It is the link between the objects on the screen, and the link between them. The role of blank in the picture, just like punctuation marks in the article, can make the picture clear in composition, clear in paragraph, smooth in pulse, and help the author express emotional color. If a picture is filled with entity objects without any blank space, it will give people a feeling of depression. If the blank space is left properly in the picture, people's vision will have room for manoeuvre and ideas may change. People often say, "When you leave three empty spaces, you get angry." If the blank space is left properly, it will make the picture lively and beautiful. The blank space is often filled with the author's feelings, the audience's thoughts and the realm of the work can also be sublimated. The blankness of the picture does not exist in isolation, it is always an extension of reality. The so-called blank space is not empty. It is the mutual contrast between blank space and reality that forms different associations and sentiments. The most classic example is Master Qi Baishi painting shrimp, a few transparent and lively shrimp around a large blank, no water, but people feel that the blank around is water. The management of the blank space and reality of photographic pictures should also arouse rich associations of the audience, create artistic conception by using the blank space, and play a creative role in other arts. Landscape photography is usually a beautiful scene, but it is not easy to take good pictures and make new ideas. If fog is a gift from God to join, it needs more patience. Whether it is the grand scenes of clouds steaming and clouds, or the sketches of changing scenes, it needs the photographer to capture with unique vision and express with unique creativity. Photography is the art of subtraction. It can use "blank" reasonably to improve the artistic conception of the picture.
4. Focus on arranging the composition of photographic elements
In foggy weather, everything is obscured by its original appearance. In composition, we should pay attention to shape and line, but ignore its original appearance. Through the combination of lines and shapes to create a more abstract picture. Pay attention to the use of far and near to reflect the depth of the picture. For example, juxtaposed trunks, street lights, poles and so on. Generally speaking, because of the low visibility of fog and dense fog, it is not suitable for the expression of large-scale scenery, and because of the influence of fog, the clarity of the medium and long-range objects decreases and the color is dim, so it is suitable for shooting close-range scenery films and some small themes. If it is light fog or flowing strip fog, it is suitable for shooting scenes such as landscapes, scenery and other subjects. When arranging picture composition for fog scenery works, we should try to choose pictures with long-range, medium-range and near-range to show the depth and air perspective of the scenery. In fog shooting, because the details of the foreground and mid-range are poor, close-range often becomes the center of vision. We must choose carefully. Generally, we should try our best to choose dark-tone things as the foreground, so that we can jump out of the fog and open the visual distance. Usually, we can choose trees with beautiful shapes and colorful and detailed colors. Architecture, boats with dark silhouettes, birds, reeds, irregular railings and laboring characters are the prospects for better visual effects. The main body of the foreground picture does not occupy a large area. In this way, a large area of light tone can be used to highlight the subject of a small area of black tone, forming a strong contrast between light and shade, which is conducive to the performance of fog and to increase the sense of space and depth perspective of the picture. Mid-range is better to occupy a larger area, and the perspective is the basis of setting off the foreground and mid-range. Through the contrast of different tones of the foreground, mid-range and long-range, the picture level is more abundant. In shooting practice, the specific shooting should be tailored to local conditions, give full play to imagination and creativity, fully display the characteristics and atmosphere of fog scenery, in order to get ideal works.
5. Late black-and-white treatment of fog scene
Early exposure accuracy of fog works is very important, because the clarity and contrast level of mid-range and long-range are generally low. If the latter stage is over-adjusted, the quality of the picture will often decline seriously, resulting in the appearance of granular sense and color fault. Therefore, more attention should be paid to the exposure accuracy when shooting. The post-processing of fog scenery is usually converted to black and white, because the color saturation of fog scenery is generally low, after processing into black and white film, it can often make the tone simpler and more expressive. Black-and-white photography is an abstract and subjective expression of the real world, because it uses black, white and gray tones to express itself, and it has a certain distance from the real color world. More attention should be paid to contrast, lighting, outline and texture. In order to accurately express the hierarchy, we need to pay special attention to the transition of the hierarchy. If you want to "decolor" into black-and-white photographs with rich layers, you need a color photograph with accurate exposure layers. Looking at flowers in the fog, virtual and real, the scenery in the fog is faint, with rich sense of hierarchy and space. At the same time, the fog can make the scenery incomplete, and can recombine these incomplete scenery to form a new landscape effect. The natural blank of the fog on the scenery will produce the artistic conception and effect of traditional Chinese ink painting. All of this requires careful management, serious treatment, reasonable control, seize the opportunity, in order to delineate a moving mood.....................................................